
From precious Pauls to ruby-red Jags and sparkling quirk machines, 30 PG fans flaunt their favorite guitars, amps, and pedals.
We asked and you delivered! PG tapped its diverse audience to see what prized possessions our readers keep in their personal gear collections. The submissions ran the gamut from a holy-grail guitar acquired via inheritance, a high-school graduation present, a post-coma-recovery treat, a rockin’ wedding gift, a self-build project, and many great tales of cherished tone tools.
Colin O'Hara
My mum passed away a few years ago and left me some inheritance. I used some of that money to get something I would’ve never afforded otherwise, and I knew it would never leave my side as long as I live—the above 1964 Fender Jaguar (from the pre-CBS era). It’s my most valuable (sentimental) possession and the most amazing guitar to play to boot!
Steve Tanner
If I had to pick just one it would be my 2016 Gibson Les Paul Traditional. We had lost both parents in rapid succession and after we settled everything, I had enough for a down payment on a condo and I set aside some money for a new guitar. It’s kind of the last thing they gave me.
Eric Tower
My 2011 Gibson Les Paul Studio Deluxe that I bought with my high-school graduation money. With its coil-tapping capability, I can achieve single-coil sounds along with the typical humbucker sounds of a Les Paul. And it has the most-comfortable neck I’ve ever played as well. It’s been my main guitar ever since I bought it!
Antoine Lespine
My Fender Super-Sonic. It’s not an expensive guitar but I wanted it for a long time. Finally, after recovering from a coma and long hospitalization, I decided to buy it just for the pleasure of enjoying life.
Dave Dardo
My 1983 Fender Strat Elite (hard tail) because it’s so versatile. It offers pleasing bright tones and with the turn of a few controls I can get some nice, thick mids. Pairing it with a Mesa/Boogie Single Rectifier 50-watt head into a Budda 2x12 and 2x10 open-and-closed back combination cabinet is magic.
Geo Jet
For many years, this was my go-to rig for larger venues. It’s so adaptable with the Seymour Duncan Antiquity II Mini Humbuckers in the Firebird going through the Marshall Vintage Modern half-stack. And for straight-out rock and blues, the smallbox 1987 Marshall Jubilee 2553 stack just can’t be beat.
Jeff Boule
To me, prized = integral. When you bill yourself as an electronic guitarist, you need a guitar to interface. My 1977 Fender Mustang that has a Roland GK-2 Guitar Synthesizer pickup paired with a set of Lace Red and Blue single-coils—plus a Kahler Trem and Sperzel Locking tuners—does just that. It’s my first guitar and still my main guitar.
Charles Gouger
This is my collection. The one I save if my house is on fire is my white Fender Mustang (on the couch). It’s the cheapest one in my collection, but the one I cherish the most.
Ray Vasquez
I seriously can’t pick! I waited all my life to have a setup like this: a 2005 Fender Stratocaster (MIM) that has a Seymour Duncan SJBJ-1b JB Jr Strat humbucker (bridge) matched with Seymour Duncan Antiquity single-coils (middle and neck). The VHT 12/20 is dimed for dirt, while the Vintage Sound Vintage 35 (Vibrolux-style 1x12 combo) is a loud 35 watts, so I only run it at 2.5 for cleans. This is the best tone I've ever had.
Justin Michael-Thermal Tran-Sheetz
My prized possession has to be the Tele I put together using a custom Warmoth body and neck. The body is mahogany with a cherry burst and the neck is roasted maple with a reverse headstock. I loaded this with some Seymour Duncan P-90s (the bridge has a humbucker-sized P-90) and wired a volume boost on my push-push tone knob. It plays like a dream and sounds amazing.
Bones BFMC
My first Gibson was a 1959 Melody Maker I got in 1973 from my aunt for $100 including a Gibson amp. Never looked back!
John Farmen
My 1959 ’burst clone. I never thought I’d like something that wasn’t a Tele so much.
Gregory DuPont
Easy! It’s my 2009 Ibanez Xiphos XPT700 that has a custom powder-coated trem, pickup rings, and tuning pegs.
Tracy Cooper
I have five Strats, two basses, a Tele, and three acoustics, but my go-to is the beautiful Beatrice. She’s a Jim Deacon Strat-style guitar that carries Ernie Ball Regular Slinkys (.010–.046). She’s heavy to hold, but she sounds amazing. I bought her as a run-down, non-working wreck, and I brought her back to life. She’s mama’s best girl!
Rob Peard
I gotta say it’s my Supro Limited Edition David Bowie Dual Tone with Bigsby (seen alongside the Milkman Sound The Amp). Some might say this is a shameless cash-in on Bowie’s legacy, but to be honest, I had always wanted this model because I’m a Link Wray fan foremost. Plus, I liked the idea of having a Bigsby without the compatibility issues of the original. It took over a year to receive my order, but it was perfectly constructed and set up. This is #115 of 432 made.
JB Gimena
My 2012 Fender American Vintage ’52 Telecaster is my number one guitar. It’s most precious to me because it was a gift from my wife for our wedding.
Ryan Coy
I’m a big David Gilmour fan, so it has to be my Black-Strat-esque Stratocaster that I pieced together. It features the same pickups as his signature Custom Shop model—Seymour Duncan SSL-5 Single-Coil Strat (bridge), Custom-wound Single-Coil Strat (middle), and Custom Shop Fat ’50s Single-Coil Strat (neck)—and an American Vintage synchronized tremolo with a shortened trem bar.
Phillip Eakens
Can’t make a decision so I’ll say my 2001 Gibson Les Paul Standard—arguably the world’s most perfect guitar—and my 1959 Harmony Stratotone. (It was the first guitar I ever played.) Can you hear that? The sustain … well you would if you were playing it!
Jesse Shafer
My prized possession is the guitar I built during the summer after I graduated high school. It has a mahogany neck and body, a maple top, and a rosewood fretboard. It has a Gibson scale length, and its neck is modeled after my other Les Paul, but it thins out towards the body and has a volute. Hardware includes Grover tuners and a Gotoh bridge. I disconnected the bridge pickup, and the neck pickup is a Seymour Duncan JB with 500k volume and tone pots. The side dots were made with red and blue crushed-up colored pencils. I spent about 10 hours making the truss rod cover by plying all kinds of wood-scraps together. I finished it with polyurethane. While I was buffing the body, I accidentally dropped the guitar and the body cracked in half. At one time, the entire back of it was covered in red paint. In a panic to get the paint off, I ended up touching the front of it and now there are red fingerprints on the front within the finish. The bolt-on neck joint is super crude. I made a little wooden badge inside the “f” hole.
It’s very rough around the edges—I was 18 and idiotic when I built it. That said, it plays and sounds like a dream. One of the most resonant guitars I’ve played and certainly the most resonant that I own. Intonation is astoundingly spot on. I have played many gigs with this guitar and have logged a couple thousand practice hours on it. I wouldn’t trade it or the stories I have with it for the world!
Ben Robertaccio
This 2000s Gibson Vegas Standard and my all-rosewood Tele work in almost every recording situation.
Rambo Brown
This EVH 5150III head has something special in it! I’ve tried to replace it with other EVH options (100W, EL34, 50W Stealth), but nothing ever works like it does. It pisses me off and haunts me in my sleep. I always come back to this MF-er!
Reza Moosavi
I’ve been lucky enough to acquire a few Kenneth Lawrence instruments. The first (and my favorite) is this Custom Explorer, aka “The White Walker.” This is ultimately the best guitar I’ve ever played for a multiplicity of reasons: Its level of clarity, punch, and sustain. The craftsmanship is breathtakingly exact, and it feels absolutely smooth due to the hand-rubbed oil finish.
Danny Medrano
I own my dream guitar! It’s a Gibson RD with Fishman Fluence Modern humbuckers. It’s so well balanced, the action is perfect, and its intonation is perfect. It handles every type of tone or style you can throw at it. Plus, it’s just a sexy hunk of mahogany. (These Dr. Z cabs are a close second.)
Reinaldo Andrade
My mid-’90s Yamaha Pacifica 912J. When I first saw the photo of Michael Lee Firkins with a Pacifica in Yamaha ads in guitar magazines, I knew that one day I would have my own. It was love at first sight.
Back to my 912J—it’s an incredible guitar. You can play all styles of music with ease, and it has beautiful tones. Inside detail: it came from the factory with DiMarzio pickups (a custom humbucker in the bridge and a pair of HS-2 single-coils in the middle and neck positions). If I had to stay with just one guitar, it would be this one.
Matt Deeley
This 2003 Gibson Les Paul Standard. And for me, the Les Paul’s from this era were superb. I’ve owned many guitars over the years, but this is the only one that’s stayed the course. It’s been played to death.
Joseph Torres
This is my PRS SE Mark Tremonti. (I believe it’s from 2012 judging by the serial number.) I’ve had this guitar for five years now and it’s become my ace. I love it because of its versatility and how comfortable it fits in my hands. Every time I pick it up, I remember why I wanted it in the first place. Oh yeah, I got tacky and put an Apple sticker on it. Anyway, it’s a great guitar and I can’t recommend PRS enough.
Richard Leo
I can’t afford a Gibson, but I didn’t need to with this one. The mid-’90s, Asian-made Vesta copy has the weight, tone, and feel of a Gibson 10 times its price. Plugged into my Laney VC30-212 and with clever manipulation of the tone and volume dials, I almost never need pedals. It was stolen a couple of years ago in a home robbery and still hasn’t resurfaced in the second-hand market. I haven’t found anything quite like it since.
Ryan Embree
My PRS Torero. I got it modded the way I want it with all kinds of FU-Tone goodies. This thing screams and is my main for a reason. I found it while used-guitar hunting and fought with the seller super hard to even get my hands on it.
Jeremy Santos
My 1980 Guild D-25 (made in Westerly, Rhode Island). I’m only the third owner of this absolute workhorse guitar. In fact, the guy I bought it from had a Fishman Matrix system put into it at a store in Westerly by a former Guild employee! As a founding member of a local Rhode Island acoustic duo, having a well-built, amazing-sounding acoustic is a top priority. I’ve used many different guitars over the years, but none compared to the sound and feel of this Guild! This will always be my number one. And being a Rhode Islander myself, having a guitar that was built here is pretty cool!
Rod Nesser
My 2012 Fender Cabronita FSR (MIM) that’s been retro-fitted with Fender locking tuners, a Rutters La Burrito bridge, a Les Paul-type, square-brass jack plate, and a Warmoth .09 black pickguard. I purchased this guitar in 2012 and it’s been my number one instrument since. In fact, I seldom play any of my other guitars. Together with my Vox AC30C2, Boss FRV-1 Reverb, and Selah Effects Feather Drive, this guitar has been my tone for the last eight years (and I don’t intend to change anything anytime soon). Initially, I did contemplate replacing the Fideli’Tron humbuckers for actual TV Jones Filter’Trons, but I actually like how the original Fideli’Trons sound through my amp against the bass player and loud drummer—they really cut through live! Needless to say, this axe is a keeper!
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Over the decades with Hüsker Dü, Sugar, and solo, Bob Mould has earned a reputation for visceral performances.
The 15th studio album from the legendary alt-rocker and former Hüsker Dü singer and 6-stringer is a rhythm-guitar record, and a play in three acts, inspired by sweaty, spilled-beer community connection.
Bob Mould wrote his last album, Blue Heart, as a protest record, ahead of the 2020 American election. As a basic rule, protest music works best when it's shared and experienced communally, where it can percolate and manifest in new, exciting disruptions. But 2020 wasn’t exactly a great year for gathering together.
Mould’s album landed in a world of cloistered listeners, so he never knew how it impacted people. For a musician from punk and hardcore scenes, it was a disquieting experience. So when he got back out on the road in 2023 and 2024, playing solo electric sets, the former Hüsker Dü and Sugar frontman was determined to reconnect with his listeners. After each show, he’d hang out at the merch table and talk. Some people wanted their records or shirts signed, some wanted a picture. Others shared dark stories and secret experiences connected to Mould’s work. It humbled and moved him. “I’m grateful for all of it,” he says.
These are the in-person viscera of a group of people connecting on shared interests, versus, says Mould, “‘I gotta clean the house today, so I’m going to put on my clean the house playlist that a computer designed for me.” “Everything has become so digitized,” he laments. “I grew up where music was religion, it was life, it was essential. When people come to shows, and there’s an atmosphere, there’s volume, there’s spilled drinks and sweat–that’s what music ritual is supposed to be.”
His experiences on tour after the pandemic heartened Mould, but they also gave him traction on new ideas and direction for a new record. He returned to the simple, dirty guitar-pop music that spiked his heart rate when he was young: the Ramones’ stupid-simple pop-punk ecstasy, New York Dolls’ sharp-edged playfulness, Pete Townshend’s epic, chest-rattling guitar theatrics. In other words, the sort of snotty, poppy, wide-open rock we heard and loved on Hüsker Dü’s Flip Your Wig and Candy Apple Grey.
Mould’s time on the road playing solo in 2023 sparked the idea for Here We Go Crazy.
Photo by Ryan Bakerink
Mould started writing new songs in the vein of his original childhood heroes, working them into those electric solo sets in 2023 and 2024. Working with those restraints—guitar chords and vocal melodies—put Mould on track to make Here We Go Crazy, his new, 15th solo record.
Lead single and opener “Here We Go Crazy” is a scene-setting piece of fuzzy ’90s alt-rock, bookended by the fierce pounding of “Neanderthal.” “When Your Heart is Broken” is a standout, with its bubblegum chorus melody and rumbling, tense, Who-style holding pattern before one of the album’s only solos. Ditto “Sharp Little Pieces,” with perhaps the record’s chewiest, darkest guitar sounds.
“It’s a very familiar-sounding record,” he continues. “I think when people hear it, they will go, ‘Oh my god, this is so Bob Mould,’ and a lot of that was [influenced by] spending time with the audience again, putting new stuff into the set alongside the songbook material, going out to the table after the show and getting reactions from people. That sort of steered me towards a very simple, energetic, guitar-driven pop record.”
Of his new album, Mould says, “I think when people hear it, they will go, ‘Oh my god, this is so Bob Mould.’”
Mould recorded the LP in Chicago with longtime bandmates Jason Narducy and Jon Wurster at the late, great Steve Albini’s Electrical Audio. Then Mould retreated to San Francisco to finish the record, chipping away at vocals and extra guitar pieces. He mostly resisted the pull of “non-guitar ornamentation”: “It’s a rhythm guitar record with a couple leads and a Minimoog,” he says. “It’s sort of cool to not have a 64-crayon set every time.”
Mould relied on his favorite, now-signature late-’80s Fender Strat Plus, which sat out on a runway at O’Hare in 20-below cold for three hours and needed a few days to get back in fighting shape. In the studio, he ran the Strat into his signature Tym Guitars Sky Patch, a take on the MXR Distortion+, then onto a Radial JD7. The Radial split his signal and sent it to three combo amps: a Fender Hot Rod DeVille, a Fender ’68 Custom Deluxe Reverb reissue, and a Blackstar Artisan 30, each with a mic on it. The result is a brighter record that Mould says leaves more room for the bass and kick drum. “If you listen to this record against Patch the Sky, for instance, it’s night and day,” he says. “It’s snug.”
Mould explains that the record unfolds over three acts. Tracks one through five comprise the first episode, crackling with uncertainty and conflict. The second, spread over songs six to eight, contrasts feelings of openness with tight, claustrophobic tension. Here, there are dead ends, addictions, and frigid realities. But after “Sharp Little Pieces,” the album turns its corner, barreling toward the home stretch in a fury of optimism and determination. “These last three [songs] should give us more hope,” says Mould. “They should talk about unconditional love.”
The record closes on the ballad “Your Side,” which starts gentle and ends in a rush of smashed chords and cymbals, undoubtedly one of the most invigorating segments. “The world is going down in flames, I wanna be by your side/We can find a quiet place, it doesn’t need to be the Albert Hall,” Mould starts. It’s a beautiful portrait of love, aging, and the passage of time.
Bob Mould's Gear
Mould paired his trusty Fender Strat Plus with a trio of smaller combo amps to carve out a more mid-focused rhythm-guitar sound in the studio.
Photo by Mike White
Guitars
- Late 1980s Fender American Standard Strat Plus (multiple)
Amps
- Fender Hot Rod DeVille
- Blackstar Artisan Series amps
- Fender '68 Custom Deluxe Reverb
Effects
- Tym Guitars Sky Patch
- TC Electronic Flashback
- Electro-Harmonix Freeze
- Wampler Ego
- Universal Audio 1176
- Radial JD7
Strings, Picks, & Power Supply
- D'Addario NYXLs (.011-.046)
- Dunlop .46 mm and .60 mm picks
- Voodoo Labs power supply
And though the record ends on this palette of tenderness and connection, the cycle is likely to start all over again. Mould understands this; even though he knows he’s basking in act three at the moment, acts one and two will come along again, and again. Thankfully, he’s figured out how to weather the changes.
“When things are good, enjoy them,” he says. “When things are tough, do the work and get out of it, somehow.”
- YouTube
Many of the tracks on Here We Go Crazy were road-tested by Mould during solo sets. Here, accompanied only by his trusty Fender Strat, he belts “Breathing Room.”
Seven previously-unheard Bruce Springsteen records will be released for the first time this summer with “Tracks II: The Lost Albums,” coming June 27.
A set spanning 83 songs, "The Lost Albums" fill in rich chapters of Springsteen’s expansive career timeline — while offering invaluable insight into his life and work as an artist. “'The Lost Albums' were full records, some of them even to the point of being mixed and not released,” said Springsteen. “I’ve played this music to myself and often close friends for years now. I’m glad you’ll get a chance to finally hear them. I hope you enjoy them.”
From the lo-fi exploration of “LA Garage Sessions ’83” — serving as a crucial link between “Nebraska” and “Born in the U.S.A.” — to the drum loop and synthesizer sounds of “Streets of Philadelphia Sessions,” “The Lost Albums” offer unprecedented context into 35 prolific years (1983-2018) of Springsteen’s songwriting and home recording. “The ability to record at home whenever I wanted allowed me to go into a wide variety of different musical directions,” Springsteen explained. Throughout the set, that sonic experimentation takes the form of film soundtrack work (for a movie that was never made) on “Faithless,” country combos with pedal steel on “Somewhere North of Nashville,” richly-woven border tales on “Inyo” and orchestra-driven, mid-century noir on “Twilight Hours.” Alongside the announcement of “The Lost Albums,” a first look at the collection also arrives today with “Rain In The River” — which comes from the lost album “Perfect World,” and encapsulates that project’s arena-ready E Street flavor.
“The Lost Albums”will arrive in limited-edition nine LP, seven CD and digital formats — including distinctive packaging for each previously-unreleased record, with a 100-page cloth-bound, hardcover book featuring rare archival photos, liner notes on each lost album from essayist Erik Flannigan and a personal introduction on the project from Springsteen himself. A companion set — “Lost And Found: Selections from The Lost Albums” — will feature 20 highlights from across the collection, also arriving June 27 on two LPs or one CD. “The Lost Albums” were compiled by Springsteen with producer Ron Aniello, engineer Rob Lebret and supervising producer Jon Landau at Thrill Hill Recording in New Jersey.
For more information, please visit brucespringsteen.net.
Tracks II: The Lost Albums
LA Garage Sessions ’83
1. Follow That Dream
2. Don’t Back Down On Our Love
3. Little Girl Like You
4. Johnny Bye Bye
5. Sugarland
6. Seven Tears
7. Fugitive’s Dream
8. Black Mountain Ballad
9. Jim Deer
10. County Fair
11. My Hometown
12. One Love
13. Don’t Back Down
14. Richfield Whistle
15. The Klansman
16. Unsatisfied Heart
17. Shut Out The Light
18. Fugitive’s Dream (Ballad)
Streets of Philadelphia Sessions
1. Blind Spot
2. Maybe I Don’t Know You
3. Something In The Well
4. Waiting On The End Of The World
5. The Little Things
6. We Fell Down
7. One Beautiful Morning
8. Between Heaven and Earth
9. Secret Garden
10. The Farewell Party
Faithless
1. The Desert (Instrumental)
2. Where You Goin’, Where You From
3. Faithless
4. All God’s Children
5. A Prayer By The River (Instrumental)
6. God Sent You
7. Goin’ To California
8. The Western Sea (Instrumental)
9. My Master’s Hand
10. Let Me Ride
11. My Master’s Hand (Theme)
Somewhere North of Nashville
1. Repo Man
2. Tiger Rose
3. Poor Side of Town
4. Delivery Man
5. Under A Big Sky
6. Detail Man
7. Silver Mountain
8. Janey Don’t You Lose Heart
9. You’re Gonna Miss Me When I’m Gone
10. Stand On It
11. Blue Highway
12. Somewhere North of Nashville
Inyo
1. Inyo
2. Indian Town
3. Adelita
4. The Aztec Dance
5. The Lost Charro
6. Our Lady of Monroe
7. El Jardinero (Upon the Death of Ramona)
8. One False Move
9. Ciudad Juarez
10. When I Build My Beautiful House
Twilight Hours
1. Sunday Love
2. Late in the Evening
3. Two of Us
4. Lonely Town
5. September Kisses
6. Twilight Hours
7. I’ll Stand By You
8. High Sierra
9. Sunliner
10. Another You
11. Dinner at Eight
12. Follow The Sun
Perfect World
1. I’m Not Sleeping
2. Idiot’s Delight
3. Another Thin Line
4. The Great Depression
5. Blind Man
6. Rain In The River
7. If I Could Only Be Your Lover
8. Cutting Knife
9. You Lifted Me Up
10. Perfect World
Bruce Springsteen - Tracks II: The Lost Albums Trailer - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Billy Corgan and The Machines of God announce 'A Return to Zero Tour' kicking off on June 7th, featuring classic tracks and deep cuts from iconic albums. Tickets available for presale on April 1st. Don't miss this unforgettable experience! Tour dates include Baltimore, Boston, New York, and more.
Today, Billy Corgan, the frontman of the iconic rock band, The Smashing Pumpkins, has announced a new solo project titled ‘Billy Corgan and The Machines of God’ who will commemorate the anniversaries of the legendary albums with sets drawn from Mellon Collie and The Infinite Sadness and the double album Machina/The Machines of God & Machina II/The Friends & Enemies of Modern Music as well as the 2024 release, Aghori Mhori Mei with a national US tour set to kick off this summer. The tour, titled A Return To Zero, will launch on June 7th and feature the four piece group also embarking on previously-confirmed festival shows.
The A Return to Zero Tour will reintroduce a four-piece, two set guitar lineup in which music from these seminal Pumpkins albums were created. The shows will feature classic tracks and deep cuts from the highly acclaimed records. In addition to Corgan, The Machines of God will feature recently recruited Smashing Pumpkins guitarist Kiki Wong, drummer Jake Hayden and bassist Kid Tigrrr (Jenna Fournier).
Tickets for the upcoming tour will be available for artist presale beginning Tuesday, April 1st at 10:00AM local time through Thursday, April 3rd at 10:00PM local time. Following the presale, the general onsale will begin Friday, April 4th at 10:00AM local time. Please see tour dates below and purchase tickets at ticketmaster.com.
Along with this touring announcement, The Smashing Pumpkins have revealed the details of the long-awaited and reconstituted release of the 2000 concept albums Machina/The Machines of God and its companion Machina II/The Friends & Enemies of Modern Music which have been extensively remixed and remastered. Corgan's Madame Zuzu’s tea shop in Highland Park, IL will exclusively offer this expansive 80-song box set; featuring a 48-track ‘MACHINA’ plus an additional 32 bonus tracks of demos, outtakes, and live performances, marking the first time these two records will officially be united. Additionally, the rock band will release a 16-song reissue of the original Machina/The Machines of God vinyl on August 22nd, and pre-orders will begin on June 27th.
This year will also celebrate the 30th anniversary of The Smashing Pumpkins era-defining acclaimed album, Mellon Collie and The Infinite Sadnesswhich set the sound for a generation. To commemorate the album, Corgan has partnered with Chicago’s Lyric Opera to world-premiere A Night of Mellon Collie and Infinite Sadness, a seven series performance taking place November 21–30, 2025.
These noteworthy music announcements follow on the heels of an already exciting 2025 for Billy Corgan; earlier this year the rock legend also launched his applauded podcast series “The Magnificent Others.”
Beyond these accomplishments, the GRAMMY® Award-winning musician, versatile producer, songwriter, poet, also serves as the President of the National Wrestling Alliance, owns Madame Zuzu’s, a beloved tea shop in Highland, IL, and remains a devout philanthropist through varying initiatives focusing on animal advocacy and NO KILL shelters.
Billy Corgan and The Machines of God - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Tour Dates
- June 7 - Baltimore, MD // Baltimore Soundstage
- June 9 - Boston, MA // Paradise Rock Club
- June 11 - Muskoka, ON // Kee to Bala
- June 12 - Toronto, ON // HISTORY
- June 13 - Montreal QC // Beanfield Theatre
- June 15 - New York, NY // Irving Plaza
- June 16 - Philadelphia, PA // Theatre of Living Arts
- June 17 - Allentown, PA // Archer Music Hall
- June 19 - Detroit, MI // St. Andrew’s Hall
- June 20 - Joliet, IL // Taste of Joliet (Festival Performance)
- June 21 - Grand Rapids, MI // Intersection
- June 23 - Pittsburgh, PA // Roxian Theatre
- June 25 - Cleveland, OH // House of Blues Cleveland
- June 26 - Cincinnati, OH // Bogart’s
- June 27 - Milwaukee, WI // Summerfest*
- June 29 - Minneapolis, MN // Varsity Theater
Cut the cord! PG contributor Tom Butwin goes hands-on with three compact wireless guitar systems from Positive Grid, NUX, and Blackstar. From couch jams to club gigs, find the right unit for your rig and playing style.
Positive Grid Spark LINK Guitar Wireless System
Enjoy a stable, noiseless experience with a compact wireless unit design, ultra-low latency, and an extended range. Other features include 6 hours of playing time per charge and a secure 110-degree hinged input plug connection.
NUX B-8 Professional Wireless System - 2.4GHz
A pedal-style professional wireless system geared for electric guitars, acoustic-electric guitars, bass guitars, and even electronic instruments, and transmits 24-bit 48 kHz high-quality audio.
Blackstar Airwire i58 Wireless System
This professional wireless instrument system is designed for guitars, basses, and other instruments with 1/4" outputs. Operating in the 5.8 GHz frequency band, it avoids interference from crowded Wi-Fi signals while delivering authentic tone, ultra-low latency (<6 ms), and high-resolution sound with no treble loss.
Learn More:
https://www.positivegrid.com/
https://www.nuxaudio.com/home.html
https://blackstaramps.com/